singer and flutist

Monthly Archives: February 2016

Nadine Cooper was told by her music teacher when she was a child that she can’t sing and therefore shouldn’t join in with the school choir because she is ‘spoiling it for everyone else’ (as reported in this BBC article). Let’s think about that for a second. To me, it’s a bit like saying that you shouldn’t walk down the street because the way in which you place one foot in front of the other is not, in someone’s opinion, worthy of being classifiable as walking.

Everyone can sing. As a singing teacher I’m often asked to give this response to the first question that I’m faced with when someone’s learns what my job is. I’ve always given this same answer in my 9 years of teaching as I’ve never been proved wrong. Every student I have ever taught has been able to open their mouth a create ‘musical sounds with the voice’ (Cambridge dictionaries online definition of singing) right from the very first lesson and, more crucially, every student has made an improvement to this over time, even those who on initially hearing a note played on the piano are unable to internally hear it and therefore pitch it in their own voice. And that’s the main point here. Some people are born with an inmate musical ability and natural vocal technique which allows them to sing well with little guidance. But the vast majority are not, or at least have only a certain degree of these skills when they begin to sing more regularly. We wouldn’t expect anyone to be able to, for example, swim well, if even at all, the first time they try it, even though it only requires the use of our own bodies and no external equipment.

So learning how singing works is critical for anyone who wants to use their voice just like any other skill, with regular time needing to be spent on developing these skills in the correct way for the individual. If we go back to the walking idea, yes we can all walk (if we have no medical reason not to) but we could probably all improve our walking by looking at our posture, balance, fitness etc.

Nadine has decided to not let her music teachers words stop her and has formed a choir for ‘those who lack confidence or need more practice.’ I can’t applaud her enough. Often those students who have come to me with a seeming lack of skill as discussed above are really completely lacking confidence in their ability after being told they can’t sing, often by people who should know better. This is damaging, and can sometimes take years to reverse and have a knock on effect to other areas of their lives too. Singing as part of a choir is a great way to begin to combat this, allowing you to explore your voice in a relaxed way, whilst hopefully having some fun and learning something about vocal technique along the way. Of course there is no substitute for one on one lessons with an experienced teacher if you are serious about improving you voice, but we are not all fortunate enough to be able to devote the time and money needed to do this.

However you choose to do it, if you have been told/think you can’t sing and want to give it a go, then go for it – you can only progress, and you never know where it might lead.

Fluteboxing, or flute beatboxing, is something that you may or, more likely, may not be familiar with. Simply put, there’s playing the flute and then there’s beatboxing (or the art of mimicking drum beats with the mouth and voice). Put them together, at the same time by the same player, and you get fluteboxing. This results in the player effectively becoming an entire band all by themselves, producing a beat with their lips, teeth, tongue and breath whilst maintaining a melody using traditional playing.

Fluteboxing very much sounds, and is, a recent concept (the term beatboxing only began to be used in the 1980s) however combining traditional flute playing with singing and other extended techniques can be traced somewhat further back with flautists such as Ian Anderson, Robert Dick and Ian Clarke developing new sounds and techniques for the instrument (which will be explored in a future post). Indeed, it is possible to use extended techniques when fluteboxing, adding yet another layer of sound and difficulty into the mix.

As a flautist, this is not for the faint hearted! Both the skill of playing and of beatboxing are not easy to produce on their own and because the two involve using and controlling many more parts of the body when you put them together than you would use when producing them on their own, it really does feel like an impossible task when you begin.

Without a doubt, the most well know fluteboxer is Greg Patillo. His youtube videos show the energy, versatility and creativity which is required to flutebox at the highest level yet he makes it look so easy! His desire to share not only his own playing anywhere and everywhere but to inspire others to have a go too (Greg has also produced a number of videos for players on where to start with fluteboxing) is really something to be admired and shared.

Just like playing other contemporary flute music with extended techniques, I’ve fallen in love with fluteboxing. The energy, imagination and time that is takes to get each piece working is immense and totally addictive. Because of the use of breath and the necessity to maintain a beat throughout a piece, fluteboxing requires stamina and strength like no other playing and forms a full on workout for mind and body. I love the way in which it allows any piece with a beat to be played as a solo, and gives endless possibilities for beats and rhythms to be changed to become more ‘edgy’ – something that is not easy to explore and put across when you are simply playing a melody alongside an accompaniment. It opens up mainstream repertoire – songs, jingles, film themes, computer game music – all become possible, as well as gives a new take on traditional pieces. And above all, I love the reaction of audiences when performing – so far I have always been met with big smiles and looks of disbelief every time I have performed.

It’s a whole new instrumental world and one which I hope will to continue to grow and be explored.

I’ll admit that when I first became a singing teacher, and for a good few years into my teaching career, I blinkerdly looked upon it as a sideline, a way to work in music and earn money whilst supporting my own singing and studying. Despite the admiration that I received from those who learnt of what I did for a living, I couldn’t see the joy that could be found, and the knowledge that could be gained, in what I now come to regard as one of the most important and fulfilling ways in which to share your own passion for music making.

In the nine years that I have now been teaching, I can honestly say that I have learnt more about life and music making directly from it than from any other activity. I have had the privilege of working with a massive range of people of all ages who have come to lessons for a wide variety of reasons – to challenge themselves, to try something new, to resurrect an old skill, to pursue a musical career. All of these reasons may have given them a different starting point, yet they ultimately all end up experiencing the same negative and positive feelings during the inevitable challenging moments and the successful times which arise. Even though this roller coaster journey which every musician finds themselves one is one which inside I know all too well, it is only now when I get to experience it over and over again through the differing eyes of all my pupils that I can understand its merits and its importance.

And it’s not only in this way that I’ve seen what teaching can offer to the person delivering it. Over the years I’ve experienced moments of joy and laughter during teaching, especially when a pupil experiences a breakthrough in their development or when I can hear the beginning of a new vocal sound emerging. I’ve been privileged to witness numerous performances where pupils have gone far beyond my expectations and have given me more enjoyment and perhaps more to think about than if I had been performing myself. I’ve had the chance to explore pieces that I thought I knew well from a new perspective which has deepened my own understanding and interpretation. And above all, I’ve formed relationships with people which have become so well bound that the teaching and leaning has become so comfortable and instinctive as brushing your teeth.

How many aspects of music making can boast all that? Teaching, I’m glad you found me.

Browsing through internet news pages earlier today, I came across this BBC news article in which it is claimed that Adele is unhappy with reports that her music is being used by Republican presidential candidate Donald Trump. This got me thinking about how music can easily become associated with a person, place or event but this can often be a difficult bond to break. Could this therefore cause a big impact on the composer or performer either negatively or positively and should this be something we should consider more carefully when putting our music ‘out there’?

Adele isn’t the first, and certainly won’t be the last, to come face to face with a negative association with her music. Perhaps the most famous example is Adolf Hitler’s adoration of the music of Richard Wagner. This has caused such a strong link between the two that many people refuse to even listen to Wagner’s music, and indeed none of his operas have ever been staged in Israel for this reason (it is worth adding that there is evidence to show that Wagner himself held anti-Semitic views but maybe if it wasn’t for the Nazis this would have been somewhat overlooked?) On a lighter political note, who cannot fail to think of Tony Blair when hearing D:Reams ‘Things can only get better’ (and if you google the title, one of the most searched for phrases is ‘Things can only get better Labour’). Or on hearing the rousing anthem ‘You’ll Never Walk Alone’ from Carousel not be reminded or a certain football team who plays in red?

But all these associations on a global scale are perhaps not as important to us as individuals as the personal associations which we all find ourselves making from time to time. Those moments when a song or piece captures just how we feel or enables us to express something better than we ever could ourselves. Or maybe a time which stays with us in our memory has a certain piece connected with it, perhaps because it was being played at that very moment? Then there are of certain associations which are made by the composer or performer themselves – the time you performed in a certain building or with a certain group or even that dreaded audition piece all hold different memories and feelings. And maybe that’s just it. Musical associations are meant to happen and are part of the deal. We all make them. Music is an art, and art is perhaps the most evocative and powerful language known to man which paradoxically is also is wide open to individual interpretation.

Artists will always be quick to react to negative associations which are formed with their work in the public arena. But perhaps they would do better to remember why they do what they do in the first place and the musical associations that they themselves have made? For every public negative association, isn’t there bound to be an unobtainable number of positive associations by people on a personal level which can bring so much joy and comfort to us and yet go unnoticed in the wider world? In the case of Adele, the fact that her latest album ’25’ has now sold more than 15 million copies worldwide must surely be proof of this. And ultimately, as musicians and artists, if we are brave enough to share our musical ideas with the world in the first place, we must learn to be brave enough to accept that how they are perceived is ultimately out of our control.